Biography
What can be said about
what is one of the vital, unrelentingly experimental bands of
the 1970s? Indeed, the Italian group Area's place in the
history of progressive rock is firmly cemented; nearly a decade's
worth of unparalleled output that has approached legendary status
in the minds of collectors. Area were a radical collective
both ideologically and musically, creating three studio albums,
Arbeit Macht Frei, Crac!, and Caution Radiation
Area, that can be firmly hailed as clear and utter classics,
with others such as Maledetti and live albums like Area(a)zione
and Concerto Teatro Uomo not far behind.
Equally inspired
by rock, free jazz, electronic music, Mediterranean folk and
the avant-garde in general, Area emerged from the radical political
and musical environment of the late 60s. Originally a
singer for various pop and conventional rock bands throughout
Italy, vocalist Demetrios Stratos evidently found his calling
in the fiercely experimental stylings of Area. His ability
stretch the limitations of the human voice (7000 Hz) provided
Area with one of the most powerful vocalists in the history
rock music. Their first album, Arbeit Macht Frei,
announced the revolution. Arguably their best, and most
accessible, effort, the back cover said it all. From the
liner notes to the Cramps CD issue: "The five Area members
are posed alongside each other between the logo from the Nazi
concentration camps ('Arbeit Macht Frei': 'Work is Freedom')
and a Palestinian 'kefiah' wrapped around the head of Giulo
Capiozzo, between the Communist hammer and sickle and the figure
of a flying angel, typical Catholic-Christian emblem. The
entire spread is set in a "militant", almost Manichean context
where the white of the floor and the background contrasts with
the black clothes of virtually all the group members and the
"darkness" of Paolo Tofani and Demetrios Stratos' feet."
Though bassist
Djivas would go on to record with PFM, two more studio albums,
the wildly experimental Caution Radiation Area and the
possible high point of Crac!, firmly established the
band's legacy. Subsequent albums showed the band moving
further and further "out there", as live releases illustrated
the band's improvisational tactics; more noise, more power,
and more unrelenting chaos to test the limits of even the most
patient listeners. Stratos went on to release a number of solo
recordings, generally filled with vocal experimentation, throughout
the later 70s. Tragically, Demetrios Stratos' died in
1979 of leukemia, though the band went on to record one more
album, the more fusion oriented Tic & Tac, before
disbanding.
Surely one of
the most unique, challenging, demanding, but ultimately most
rewarding, listens in the history of progressive music, the
first three or so albums from Area are not to be missed. -
Greg Northrup [July 2002]
Source: Liner Notes to Cramps CD reissues
of Arbeit Macht Frei, Caution Radiation Area,
and Crac!
Crac!
(1974)
Area were easily
one of the most innovative and astounding bands to come out
of Italy in the 70s. Most often recognized for the amazing vocal
gymnastics of Demetrio Stratos, who was a master of both regular
singing and strange vocalizations involving yodeling, yelping
and screaming, the rest of the band was made up of top-flight
musicians as well. Keyboardist Patrizio Fariselli is flat out
amazing; a monster on electric piano, and most notably ARP synthesizer,
which along with Stratos' voice constituted the signature Area
sound. Uniting jazz fusion, rock Mediterranean influences and
brilliant technical skills, the music is at times avant-garde
and off the wall, yet rarely losing its infectious, bouncy rhythms.
One of the defining characteristics, actually, is the way the
band rips through extremely complex rhythms with ease, all while
attaining grooves suitable for massive air-instrument flailing.
Starting
the album off with a swift kick in the ass, "L'elefante Bianco"
is the defining moment here, starting with Stratos singing over
insatiable keyboard/bass licks and building to a frenzied Mediterranean
jazz-rock plateau. Stopping on a dime, Stratos comes back over
a quiet piano melody and brings the tune back into overdrive
with some of his most song-oriented vocals before the band comes
back with a reprise of the main theme. Exquisite. "La mela di
Odessa" lets loose with a groove based extended jam, with a
decidedly funky second half. Taking another turn, "Gioia e Rivoluzione"
is an acoustic sing along type piece, along the lines of Banco's
"Non Mi Rompete".
Although
Crac! would be a good inroads to the more avant-garde
side of things due to its relative accessibility, the album
gets progressively 'out there' as it goes, culminating in the
all out noise of "Area 5". Despite this, there is plenty of
initially rewarding qualities that will lean towards enjoyment
of the rest of the album. A truly essential work.
- Mike Prete
[February 2002]
Click
Here for Tracklist and Lineup Info
Maledetti (1976)
Having recently been converted and classified as a bonified Area
fanatic, I find myself pulling this one out of my collection daily.
Maledetti holds all of the elements that make Area such
a hair raising listening experience, while exploring new territory
foreign to the Area camp. Most of the information on Area comprises
their releases up to this one and stops short of really describing
this torrent wave of musical experimentation called Maledetti.
All of the Area elements are intact; from the Mediterranean sonic
fusion, rhythmic assaults that leave one breathless, to newer
elements of African rhythmic percussion via Paul Lytton, classical
jazz elements courtesy of Steve Lacy, and a classical music overture
with the aid of a string quartet, making Maledetti a monster
in the Area catalog.
Along with
Ares Tavolazzi on bass and keyboard genus Patrizio Fariselli,
Demetrios Stratos has never sounded better with his vocal intonations.
Starting off with "Evaporazione" we hear Stratos running back
and forth spouting some Italian nonsense which ends abruptly
with him screaming "Ladies and Gentlemen", leading to "Diforisum
Urbans": a glorious glide of rhythmic keyboard mayhem that breaks
with a keyboard run halfway through and Stratos vocalizing like
never before. "Gerontocrazia" contains one of Stratos's most
incredible vocal workouts. If I had to pick one track that was
most representative of Demetrios's style of singing this would
be it, minus the yodeling inflections. "Scum" is one of those
tracks that will have you reaching out and pulling your old
Monk and Bud Powell recordings and dust them off for a second
listen.
Side two:
enter the string quartet with a Bach concerto, magnificent in
it's own right, and into "Giro, Giro, Tondo". Damn this
is incredible from Stratos! So full of emotion and energy,
many vocalist could take lessons from listening to this!
Patrizio Fariselli shines like the brightest beacon in a dark
harbor with his keyboard work which makes this one my all time
favorite Area tracks. And ending Maledetti is "Caos",
a workout of structures of insanity guided by no one. What
would an Area work be without "CHAOS REPRESENTED in the final
inflection of an out and out masterpiece from one of the most
innovative and exciting groups to have ever graced these shores
and ears. They don't make em like this anymore!!
- Mark Gaines
[July 2002]
